The earliest reference to this work is a sonnet by Bernardo Bellincioni, which tells this work's commissioner to praise the artist for portraying one of his stars. Carlo Amoretti propagated the falsehood that the subject held a mandolin, and X-rays have revealed that there was to be an arch in the background. While owned by the Czartoryski family, someone placed an inscription in the upper left hand corner incorrectly identifying the subject as the artist's "La (*) Feroniere." This painting shows a fine, gauze-like veil with gold threading holding the subject's hair in place, and that subject stands with her face turned to the left though her
The earliest reference to this work is a sonnet by Bernardo Bellincioni, which tells this work's commissioner to praise the artist for portraying one of his stars. Carlo Amoretti propagated the falsehood that the subject held a mandolin, and X-rays have revealed that there was to be an arch in the background. While owned by the Czartoryski family, someone placed an inscription in the upper left hand corner incorrectly identifying the subject as the artist's "La (*) Feroniere." This painting shows a fine, gauze-like veil with gold threading holding the subject's hair in place, and that subject stands with her face turned to the left though her body takes a three-quarter pose angled to the right. Commissioned by Ludovico il Moro for his mistress Cecilia Gallerani, for 10 points, name this portrait by Leonardo da Vinci of a woman with a certain animal.
The earliest reference to this work is a sonnet by Bernardo Bellincioni, which tells this work's commissioner to praise the artist for portraying one of his stars.
{Lady} with an {Ermine}